{"id":928,"date":"2017-01-16T16:21:55","date_gmt":"2017-01-16T22:21:55","guid":{"rendered":"https:\/\/bsudlr.wordpress.com\/?p=928"},"modified":"2017-01-16T16:21:55","modified_gmt":"2017-01-16T22:21:55","slug":"the-manifestation-of-the-abject-and-grotesque-in-the-exorcist","status":"publish","type":"post","link":"https:\/\/blogs.bsu.edu\/dlr\/2017\/01\/16\/the-manifestation-of-the-abject-and-grotesque-in-the-exorcist\/","title":{"rendered":"The Manifestation of the Abject and Grotesque in The Exorcist"},"content":{"rendered":"

by Noah Patterson\u00a0<\/em><\/p>\n

In William Peter Blatty\u2019s film <\/span>The Exorcist, the catalyst of demonic possession <\/span><\/i>transforms Regan, a young girl, into a prime example of the abject and grotesque. Through reasons unknown (though one posited explanation includes playing with an Ouija board), Regan becomes the target of a powerful demon and is rendered unrecognizable by the end of the film. Facial gashes, discoloration of the skin, yellowed teeth and eyes, a stark vocal distortion, and more afflict Regan in ways that recall the excess of the grotesque. Similarly, the demon causes Regan to abject parts of herself by separating her physical body from her actual identity and personality. This allows her exorcist, Father Damien Karras, to explore the guilt he has repressed regarding the death of his mother. As the film investigates the demon\u2019s strengthening hold on Regan\u2019s body, the viewer is exposed to the ways abjection and the grotesque manifest. Thus, the viewer is able to grapple with his or her own ego by confronting the increasingly monstrous character of Regan.<\/span><\/p>\n

Throughout the course of <\/span>The Exorcist, <\/span><\/i>Regan\u2019s transformation into the grotesque is meticulously chronicled. A grotesque body is defined as one that \u201c\u2019protrudes, bulges, sprouts, or branches off;\u2019 it seeks to go beyond\u201d (Hurley 140). In the beginning of the film, Regan is shown as a curious, energetic, and ultimately innocent child, with no visible aspects of grotesqueness. Her relationship with her mother, Chris, is close, and the two are shown playfully interacting: Regan recounts her day, asks her mother if and when they can get a horse, and then steals a cookie from the jar before dinner, prompting Chris to chase her and wrestle with Regan on the floor to get the cookie back as they both giggle (00:16:56-00:17:54). The portrayal of their dynamic is immediately idealized, making Regan\u2019s transformation into a grotesque body\u2014in appearance and behavior\u2014even starker.<\/span><\/p>\n

The influence of the grotesque is first seen on the night of a party thrown by Chris. Regan emerges from her room in a trance, telling one of the guests, an astronaut, that he\u2019s \u201cgoing to die up there.\u201d She then begins to urinate on the floor, creating the first display of the grotesque: the lack of control over bodily functions (00:42:46-00:43:28). Through this incident, as well as the later instances of vomiting, an interesting dynamic is created. Vomit and urine are associated with early childhood, and the doctors that see Regan are convinced that her condition has a medical explanation rather than a supernatural one. <\/span><\/p>\n

Positing Regan\u2019s initial instances of grotesqueness as displays of typical childlike excess creates a moment of doubt about the validity of Regan\u2019s possession; that is, until the excess becomes undeniably grotesque and aspects of abjection also enter the narrative. At that point, Regan\u2019s possession is undeniable; however, it also signals something more for the viewer. As we begin to question our own limitations, we also question the ways in which our own \u201cego . . . remains threatened by [but] yet attracted to the possibility of dissolution,\u201d or the existential struggle to define our own borders as \u201ca discrete subject\u201d (Hurley 138). Some aspects of this grotesqueness are inherently Regan and indicative of her status as a child, surely; but, as her excess grows, the viewer is both horrified and fascinated by the visceral extensions of Regan and their relation to the viewer\u2019s own body.<\/span><\/p>\n

Within Kelly Hurley\u2019s article \u201cAbject and Grotesque,\u201d these extensions are defined. She states that the excess of the grotesque is linked to \u201c\u2019images . . . of the corpse, whole and mutilated,\u2019 and of \u2018an array of bodily wastes such as blood, vomit, saliva, sweat, tears, and putrefying flesh\u2019\u201d (138). Regan embodies these characteristics, developing past a child unable to control her bodily functions and into a form that resembles a living corpse. She claws at her face, creating scratches that turn into deep gashes. She infamously and violently projectile vomits into the face of Father Karras during their first meeting (01:25:45-01:25:57). She further harms herself by stabbing a crucifix into her genitals and covering her body in blood, and in the \u201cspiderwalk\u201d scene, blood dribbles out of her mouth when her contorted body reaches the foot of the stairs. Regan\u2019s head also famously twists around, breaking the limits of what is considered physically possible (01:18:49-01:19:44 & 01:00:54-01:01:05). <\/span><\/p>\n

While Regan\u2019s grotesqueness challenges what is possible for the human body, her abjectness comes from the actual personality of the demon inside of her. Hurley explains psychoanalyst Julia Kristeva\u2019s notion of the abject as \u201ca space upon which [the proto-subject] will construct an \u2018I,\u2019 the proto-subject attempts to define what is \u2018not-I\u2019 and then repudiate and expel it as \u2018other\u2019\u201d (144). Ultimately, \u201cone experiences <\/span>oneself<\/span><\/i> [sic] as the vile matter that must be cast off\u201d (Hurley 144). Throughout the course of the film, there is a clear attempt to differentiate the demon within Regan from Regan herself. Chris exclaims to Father Karras, that Regan\u2019s possessed body can have the \u201c[s]ame face, same voice, everything: and that thing wasn\u2019t Regan. I\u2019d know in my gut. And I\u2019m telling you, that thing upstairs isn\u2019t my daughter!\u201d (01:27:57-01:28:16). This outcry becomes even more fascinating when considering Regan\u2019s symptomatic grotesqueness. While she does display some characteristics of grotesqueness associated with childhood, when accompanied with the demonic excess, they also become a form of abjection, and the characters notice this. <\/span><\/p>\n

Furthermore, when Karras talks to the demon inside of Regan, they have an interesting exchange; the demon states, \u201cWhat an excellent day for an exorcism.\u201d When Father Karras wonders aloud, \u201cWouldn\u2019t that drive you out of Regan?,\u201d the demon responds, \u201cIt would bring us together,\u201d implying that the two are separate entities at the time of this conversation. Karras clarifies, \u201cYou and Regan?,\u201d and the demon now foreshadows its connection to Karras, finishing, \u201cYou and us\u201d (01:31:05-01:31:29). To further perpetuate the \u201cotherness\u201d of this demon, it speaks in a deep, masculine register instead of the youthful voice of Regan. Finally, the phrase \u201chelp me\u201d protrudes from her emaciated abdomen, both expressing the grotesqueness of her form and emphasizing the abjectness the demon is perpetuating through the division of Regan, a terrified captive of her own form, from the demon, who has gained full agency over her body (01:37:12-01:37:54).<\/span><\/p>\n

Another critical component of the abject is the presence of repression, or, as Jackie Stacey puts it, \u00a0the attempt to\u201cexpel those unwanted objects that remind us of our origins or our fate\u201d (qtd. in Hurley 144), which \u201cresults in a denial of those objects\u201d (Hurley 144). Throughout the course of <\/span>The Exorcist, <\/span><\/i>repression can be best exemplified through Father Karras. Regan\u2019s abjection actually becomes a tool for Karras to interrogate his own guilt regarding the fate of his mother, who died in a public institution when he did not have enough money to send her to a better healthcare facility. Regan takes the physical form and voice of Karras\u2019s mother throughout the exorcism, forcing Karras to confront his guilt towards his mother\u2019s death. This mirrors a repression of the grotesque, not in Regan, but in Karras, who confronts the corpse of his mother, verbally blaming him for her demise. This is exacerbated when Father Merin, the second exorcist, reminds Father Karras, \u201cThe demon is a liar . . . But he will also mix lie and truth to attack us. The attack is psychological, Damien, and powerful. So don\u2019t listen to him. Remember that \u2013 don\u2019t listen to him\u201d (01:43:05-01:43:40). In spite of this warning, Karras falls prey to the demon\u2019s trap, unable to separate his guilt from the exorcism. <\/span><\/p>\n

When Karras\u2019s lack of focus causes the exorcism to fail, resulting in the death of Father Merin and potentially the loss of Regan\u2019s soul, Karras makes a heroic decision: sacrifice himself and call upon the demon to enter his body. Fighting the demon\u2019s influence, Karras gains control long enough to fling himself out of Regan\u2019s window, sending himself tumbling down a steep flight of stairs, which kills him and ends the demon\u2019s terror (02:00:29-02:01:44). While the exorcism results in the deaths of both priests, there is still an acting resolution and catharsis to Karras\u2019s repression: through this exorcism, Karras has combated the guilt he is repressing, confronting it in the form of the demon and defeating it for good, all while simultaneously mastering his own fate. This is appropriate, as the demon acts as the agent through which abjection can be conveyed. Without the demon\u2019s grotesque capabilities, Karras would not have been able to meet his mother in a physical form. Furthermore, without the demon transferring bodies, Karras may not have reconciled this guilt. Similarly, if Karras had not called upon the demon to possess him instead, the exorcism would have ultimately failed.<\/span><\/p>\n

Abjection and grotesqueness surround <\/span>The Exorcist,<\/span><\/i> undoubtedly to make Regan\u2019s transformation terrifying and effective; nevertheless, these monstrous tropes are also evolved to reveal the power of the demon inhabiting Regan and the repressed guilt of Father Karras, ultimately giving him the agency to defeat it. The catharsis experienced by the end of the film also shows a return to normal; Regan is healing from her wounds, unable to remember the experience of possession. Furthermore, the family is ready to move forward, leaving their home in search of a life away from this gruesome memory. While the impact of the abject and the grotesque may never leave the memory of Chris, there is ultimately the hope that Regan will recover from her experience.<\/span><\/p>\n

<\/span><\/p>\n

Works Cited<\/span><\/p>\n

Hurley, Kelly. “Abject and Grotesque.” <\/span>The Routledge\u00a0Companion\u00a0to the Gothic, <\/span><\/i>Eds.\u00a0Catherine <\/span><\/p>\n

Spooner\u00a0and Emma McEvoy, Routledge, 2007, pp. 137-146.<\/span><\/p>\n

The Exorcist: Extended Director\u2019s Cut. <\/span><\/i>Directed by William Friedkin, performances by Ellen <\/span><\/p>\n

Burstyn, Max von Sydow, Lee J. Cobb, Jack MacGowran, Jason Miller, Linda Blair, and William O\u2019Malley, Warner Bros., 1973.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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